course, the celebrated Shaw monument in Boston.[1]
On the other hand, there have been a few Negro
sculptors, three of whom merit mention: Edmonia
Lewis, who worked during the Civil War, Meta
Warrick Fuller, a pupil of Rodin, and May
Howard Jackson, who has done some wonderful
work in the portraying of the mulatto type.
To appraise rightly this body of art one must remember that it represents mainly the work of those artists whom accident set free; if the artist had a white face his Negro blood did not militate against him in the fight for recognition; if his Negro blood was visible white relatives may have helped him; in a few cases ability was united to indomitable will. But the shrinking, modest, black artist without special encouragement had little or no chance in a world determined to make him a menial. Today the situation is changing. The Negro world is demanding expression in art and beginning to pay for it. The white world is able to see dimly beyond the color line. This sum of accomplishment then is but a beginning and an imperfect indication of what the Negro race is capable of in America and in the world.
Science, worse luck, has in these drab days little commerce with art and yet for lack of better place
- ↑ Cf. Freeman H. M. Murray, Emancipation and the Freed in American Sculpture, Washington, D. C., 1916.
